THE INTER-SOCIETY FOR THE ELECTRONIC ARTS
ISEA NEWSLETTER #93
ISSN 1488-3635 #93, Part 1, Part 2, June - July - August 2003
_______________________________________________________________
* CONTENTS *
* ISEA News
* Editorial by Nina Czegledy
* Introduction by Kristian Lukic
* "The constant state of emergency. Report from Serbian media scene" by Branka Curcic
* "Think in layers. Piracy dilemma in Serbia" by Zana Poliakov
**************************************************
ISEA News
by Angela Plohman
ISEA Coordinating Director
**************************************************
Welcome to Part 1 of ISEA Newsletter #93, a special 2-part newsletter with a
focus on south eastern Europe, guest edited by Kristian Lukic from the New Media
Centre - kuda.org, Novi Sad. The second part of this newsletter will be
published in August 2003.
We would like to remind all ISEA members that we are always looking for guest
editors for the ISEA Newsletter. If you are interested in editing an upcoming
issue of the ISEA Newsletter focused on your region, please contact ISEA HQ.
-- ISEA News
ISEA Meeting at SIGGRAPH 2003
Date: Thursday, July 31, 2003
Time: 12 pm - 1:30 pm
Place: San Diego Convention Center, Room 24 A*, San Diego, California, USA
The Inter-Society for the Electronic Arts (ISEA) will be holding an open forum
at SIGGRAPH 2003 on the future role of ISEA, including information about
ISEA2004 (Stockholm, Tallinn, Helsinki), and a discussion of our archive project
and our new web site. All interested members of the electronic arts community
are welcome. Bring your own lunch!
ISEA2006 Call for Bids
ISEA is pleased to announce a call for symposium host candidates for ISEA2006.
The deadline for letters of intent is August 15, 2003. To read the full call,
see our website at
In addition, ISEA has published an updated version of its Guidelines for
Symposium Host Candidates. To read these guidelines, please see
.
ISEA2004 Call for Proposals
ISEA2004 is currently inviting proposals for projects and papers for the
exhibitions, conferences and associated programs during ISEA2004. Deadline:
August 15, 2003. For more information on how to submit a proposal for ISEA2004,
please see their website at .
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Editorial
by Nina Czegledy
ISEA Board
**************************************************
This is a brief personal introduction to a Newsletter from Deep Europe, a
metaphoric term coined by Luchezar Boyadjev an outstanding Bulgarian artist and
one of my first contacts in his country. Back in 1992 when eleven artists from
Croatitacts in his country. Back in 1992 when eleven artists from
Croatia to Poland (including Luchezar) collaborated on the "Mittel Europe:
artists speak on the arts in Central Europe" issue for New Observations (NY),
which I edited - it was impossible to foresee the current developments as
reported by the contributors of the ISEA #93 Newsletter. Even in the mid
nineties media labs, public forums, exhibitions, networked events seemed (with
few exceptions) a distant dream in Bulgaria or Yugoslavia. In 1996, when
together with Iliyana Nedkova, (who initiated the project) we were working on
our first Crossing Over mini festival in Sofia it was hard to imagine a show of
video installations or extensive digitally based work, by Bulgarians.
In providing a context for the current cultural landscape of the region, one has
to acknowledge the significant political and economical regional changes since
1989. While several established institutions (albeit somewhat transformed)
remained in existence and new organizations have been established - lately
diverse grass roots initiated collaborations have sprung up across the region.
Historic evidence of individual initiatives can be always traced, the difference
is that the current projects contain pragmatic strategies.
To me, who vividly recalls Jello, the techno-magician's improbable juggling
activities, connecting totally incompatible machines at the Crossing Over
workshop in Sofia, the miraculous appearance (from some underground pipe) of a
phone/internet connection in the ancient Turkish Bath of Plovdiv during the
first Communication Front events, the special effects wizardry as late as 1998
at CO by our editors in Novi Sad - the current features of mediascape as
reported in this Newsletter (despite all the difficulties) is a true miracle.
Few people outside the region realize the tremendous efforts and localized
strategies required to bring these changes and paradigm shifts about. I would
like to thank our contributors and pay tribute to all those who initiated and
continue to work for a sustainable networked new media future in Deep Europe and
beyond.
**************************************************
Introduction
by Kristian Lukic
**************************************************
When I was invited as a guest editor, I wanted to conceptualise what is most
distinctive in a region mostly known during last times as synonym for war,
criminal, corruption. Fuzzy logic that is ruling principle in the Balkans is the
best seen through use of two concepts: sometimes it's Balkans (when you want to
describe Other) and sometimes it's South East Europe (when you want to describe
a candidate for European Union).
During the nineties, when cultural framework collapsed together with their
parent states of real socialism, there were no cultural initiatives that could
answer to new socio-political milieu could
answer to new socio-political milieu that was shaped. Art scene in the nineties
in SouthEast Europe was, similar as in other parts of Eastern Europe, strongly
characterized with Soros network of Contemporary Arts Centres. That network
structured post socialist art scenes, mostly supporting art initiatives that
criticized new established proauthoritarian regimes.
Still, in the end of the last and beginning of the new century, need for an
independent cultural framework in the sphere of media and Internet, creates a
wave of new initiatives, organizations and centres, established on grassroots /
bottom up principle (some of them with the help of Soros network and other
organizations).
This Newsletter will be focused on these new initiatives of people who
articulated themselves besides state or private capital governed interests.
These projects and organizations are interdisciplinary, run by artists,
theorists, engineers, and software developers. Instead of waiting for an art and
culture institutions to recognize their efforts, they start to create their own
environment, and their impact is growing on wider socio-cultural level.
The fact is, that in the most cases they took a role of disseminator of
knowledge in the field of media art, net culture and new technology, replacing
former role of state education institutions. With their independent position
they can foster public debates on some questions that might be intrigued for
state based cultural institutions, like for example questions of intellectual
property rights that, with human resource based new information society,
presents new challenge for conceiving the concept of intellectual work. Question
of copyright in recent years had strong impacts in the Balkans regarding law
enforcements. Bulgaria, Serbia and Bosnia and Hercegovina like Taiwan were in
the nineties so called 'Kingdoms of Piracy'.
In this newsletter we shall see different, subjective approaches to various
phenomena in media environment, focused on art, theory, social issues, politics...
In Part 1 of this newsletter, Branka Curcic from New Media Centre - kuda.org,
Novi Sad is focusing on the wider situation in Serbia, and on activities of
kuda.org, which is focal point for the new media scene in Serbia. Zana Poliakov from
Belgrade writes about recent developments in the sphere of intellectual property
rights, with emphasis on her project 'Virtooal exhibition'.
In Part 2, there is an article by Galina Dimitrova who works as a project
manager at Interspace Media Arts Centre in Sofia. Both involved in contemporary
art and video scene, she is giving an overview on developing in new media and
experimental art practice in Bulgaria with an accent on Interspace activities.
Seki Tatlic from Kolektiv, an organization in Sarajevo, gives an overview on current
situation in post-war Bosnia and Hercegovina, and Tomislav Medak from Zagreb is
writing about activities of Multimedia Centre Mi2, and about larger political
and cultural situation in Croatia.
***
Kristian Lukic is media and culture researcher, graduated Art History at Faculty
of Philosophy, University of Belgrade. Member of Eastwood - Real Time Strategy
Group. He has been involved in numerous international online projects, workshops
and residencies. Works as program manager in New Media Centre - kuda.org, Novi
Sad.
New Media Centre - kuda.org is a non-profit organisation of artists, theorists,
media activists and researchers in the field of ICT. kuda.org is a content
providing platform for new cultural practices, media art production and social
layout.
www.kuda.org
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The constant state of emergency
Report from Serbian media scene by Branka Curcic
**************************************************
Branka Curcic (Novi Sad, 1977) is media researcher and organizer of cultural
events. BA artist, graduated at the Academy of Arts in Novi Sad in 2001.
Presently working as a editor of Infocentre department in kuda.org, Center for
New Media, Novi Sad.
www.kuda.org
***
Assassination of the prime minister is not so unusual thing to happen. It
happened before in many different countries. Consequences of this act are rather
specific in this specific environment. Current political struggle, personal
fights and prosecutions in public, media censorship in some way, are just one
small part of daily news in Serbia. Impression is that we still exist as a
society, which is manipulated through the information and disinformation flow
control. It seems, at the moment that this "flow control" means at the same time
"disorientation", absence of reason. All these events marginalize questions that
are not directly related to them. One of the margins is presence and development
of ICT (Information and Communication Technologies) in this country. Appeal and
struggle of Internet providers against telecom is constantly on. Direct
consequences are poor infrastructure and still very low number of Internet users
(about 9% of country population).
Long-term consequences in economic, political and cultural relations can be seen
in present development of Information and Communication Technologies (ICT) in
general. Politics has great influence on development of this field of human
activity, its initiation, upgrowth, balance of positive and negative inputs
(example: endangering privacy and developing ways for its prevention, etc). But,
high-developed level of technology itself often creates fake picture of its
independence. Here, things are a little bit different. Sequence is perfectly
clear (even painfully obvious): October 5th (the fall of Milosevic regime) and
March 12th (Djindjic assassination) - the whole new worlds/realities are created
after that.
But, marginalized events don't necessarily need to stay marginalized. There are
always some initiatives, which are trying to resist already established events,
no matter how established they are. Strategies are diverse.
Notion of collaborative work
After political changes in 2001, kuda.org, New Media Center was founded in Novi
Sad, second largest city in Serbia. Permanent non-existence of basic information
and absence of dialogue are heritage of the last decade. kuda.org established
itself as kind of prevention of existing isolation in local political and
cultural practice. Promoting the phenomenon of Information and Communication
Technologies is way to bring to the people what's happening on the global scale,
in terms of changed relations between politics, economy and culture in today's
society. At the end it mustn't be forgotten that what¥æs important is: position
of this country in this kind of environment and how it responds in global media
surrounding.
After two years of work, kuda.org increased collaborative platform of artists,
theorists, economist and programmers. It is based as a facility, in a few
different levels. Free access to the Internet, free use of library and
mediatheque, free lectures and presentations, free music, free software, piracy,
are just one part of its activities. kuda.org is conducting its activities in
few different programs: kuda.lounge, program of lectures, discussions and
workshops; kuda.info, open facility - web, library, mediatheque, archive;
kuda.production and kuda.edu, educative program, although this distinction by
programs is conditional because of its unstable content. First period of two
years was dedicated to present different initiatives, theories, practice,
projects, actions, etc. that became references in contemporary media scene
created by key theorist, practitioners, artists, programmers, etc. Parallel with
presenting what are the main tendencies, kuda.org started involving people in
different kinds of workshops, where knowledge transfer was realized in more
focused way.
Svet informacija / World-Information.Org
"I hear we're in the state of emergency in this country. Believe me, I have a
feeling we have state of emergency in the whole world. And here, at l in the state of emergency in this country. Believe me, I have a
feeling we have state of emergency in the whole world. And here, at least, you
are little bit aware of it." Konrad Becker
In that framework, kuda.org presented to Serbian audience World-Information.Org
project and World-Information Exhibition in March and April 2003. It was
organized in Novi Sad in Museum of Revolution and Belgrade's Museum of
Contemporary Art afterwards. After essential exhibitions in Brussels, Vienna and
Amsterdam, mutual decision of exhibition's producer, Viennese Institute Public
Netbase and kuda.org, was to present exhibition in this specific environment. In
this case, term specific relates to not so technologically advanced surroundings
on one side, but on the other, great responsiveness based on, let me say,
militaristic experiences in past decade. It seems that this kind of environment
fosters educational notion of the exhibition. What was even more suitable is
that World-Information.Org presents its research in very user friendly way,
through exhibits and attractive visual diagrams; it's using attributes of a
classic exhibition and forms very accessible different subjects based on
interrelations between technology and society, politics, culture, art and
economy based on complex sphere of information production, manipulation, control
and distribution. Multifaceted structure of the exhibition makes different kinds
of influences, starting with basic fascination by populist part of it, to
thoughtful results of constant process of monitoring the latest events on
technological stage.
It was very important to do research and to present some initiatives from media
art scene in Serbia. As a result of that, some art works were presented: The
Absolute Sale by Apsolutno, Explorer98 by Eastwood, Safe Distance by kuda.org,
Hic Cineres Ubique Nomen by Goran Strugar, Noise by Zoran Todorovic and Multi
Consumer Trauma Experience The Sims by Vladan Joler. As I already mentioned,
Serbia in general is not highly developed technological environment, but still,
consciousness about importance of communication technologies is slowly rising.
Media art scene is very small: few initiatives and individuals that are dealing
with interdisciplinary models to build something that do not necessarily need to
be presumed as art. Usually, it is collaborative work that uses for example,
modifying/dismantling structures of existing computer games in order to create a
new one, where this process of dismantling existing structure presents way to
talk about different problems: intellectual property right and piracy,
definition of Europe and its integration, immigrants, war industry, political
totalitarianism, etc.
Vivid atmosphere at the exhibition was created with accompanying program of
lectures and discussions - World-Information Lounge and with visit of about
eight thousands of people during four weeks. World-Information Lounge presented
variety of themes that were discussed, accenting speakers from Serbia and
Montenegro. World-Information Lounge was acting as an open and interdisciplinary
forum, where discussed problems were: artistic practice in information
saturation, intellectual property and software, ICT and new social movements, e-
government vs. e-society - monopoly in infosphere, case Serbia, Intelligence
service in war and peace, as well as some documentaries and art projects (Safe
Distance video by kuda.org and Nybble-Engine-Toolz project by Margarete Jahrmann
and Max Moswitzer).
One day conference, World-Information Forum on "Total Disinformation Awareness:
Conflict, Control and Freedom of Information" was held in Belgrade and it
comprised this recent development. Forum was directed to the questions of new
security paradigm and conflicts that are influencing the world of infostructure
in many different ways. Speakers at the forum were: Petar Milat (HR), Sjoera Nas
(NL), Marko Peljhan (SI), Gordan Paunovic (SCG) and Eric Kluitenberg (NL).
Catch Us if You Can! Only for public use, not for personal interest
One of direct consequences of government action after prime minister
assassination is bringing out different laws in fight against terrorism. Funny
thing is that piracy also jumped in this category. The new law against it is on.
Very cruel one: person could get 8 years in prison for piracy. A thousand of CD
shops were closed, street dealers don't exist anymore and some people got
arrested because of this illegal action. Still, piracy industry is live and
vivid, and it's functioning through less visible channels. Wouldn't be great
that piracy, which became a kind of a habit in Serbian society, could be
understood as a collective consciousness of people about importance of copyleft
and intellectual property right. But, I'm afraid this is only the question of
collective poverty.
In this situation, where person must switch from 100 dinar (1,2 euros) for one
movie or music CD to the price of 1000 dinar, people in kuda.org decided to give
their own contribution. This action was part of workshop that was realized with
members of Critical Art Ensemble. Subject of action was blockbuster movie in
that period (April 2003), "Catch me if you can" by Stephen Spielberg.
Intervention consisted from extra titling the movie, as a kind of reaction on
usual copyright sentence: "This DVD is for screening purposes only and is not
for Public Presentation." which showed up many times in the movie. Extra titles
were added in terms to point out how copyright issues can influence to the
development of cultural production in general. Some of them are: "Catch Me if
You Can" was produced for $50 million and has already made $160 million. Expect
millions more to be made when released to video and cable. You are under
economic and cultural attack... This DivX has been created for public use and
not for private interests!
The appropriation of digital information is a form of cultural self-defence. The
production and distribution of digital information should not be centrally
controlled. Access for all is a requirement for world democracy."
**************************************************
Think in layers
Piracy dilemma in Serbia
by Zana Poliakov
**************************************************
Born in 1973. virgo/leo. writes, designs, cooks, initiates, teaches, talks and
compiles. surface navigator & explorer. communicator & perpetuator. web author.
cd rom concept player. electronic publishing coordinator. brand manager.
hacker's icon. cyber queen. creative adviser. stiletto feminist. fraulein
activist. cultural provocateur. on-air, on-site, on-line.fanta-phenomenologist.
in constant state of flux
www.zanapoliakov.com
***
There is no a single document of culture which at the same time would not be a
document of barbarianism
Walter Benjamin
Of course, there is a political element in antipiracy treats and wars and anti-
copyright and copyleft/freeware/shareware ideology, regardless of how we define
politics. Personally, and judging by some experience, I perceive it in widest
terms possible. Are you rough and macho or effeminate and gentle? Do you believe
human nature is fundamentally good or evil? Should we be open or mysterious? How
do we treat the ones who think differently? Do we consider moral values fixed
and invariable or negotiable? Is art merely cultural masturbation? Is sex always
dirty or only when it is done properly?
The thing considered Evil in one part of the world, seems pretty obvious that in
the other parts is working in the name of Good. Intelligentsia, open-minded
people, technology lovers ¥Îthey were the first to go into the technological age,
although our Minister of Finance disappointed us announcing that only 9 % of
Serbia population is using computers. The tool that we define as basic literacy
nowadays?! It is more then obvious that only the Chosen ones had the will power
enough or the savings enough ruined by inflation of pyramidal banks, to get into
the WWW and explore pleasures of the Net. Crucial point is why - as an escapist
therapy of flammable political and social nto
the WWW and explore pleasures of the Net. Crucial point is why - as an escapist
therapy of flammable political and social situation or to communicate with
Others. By Being Online, whatever you do or whatever you think, you soon realize
that - you are not Alone.
In art Serbia and Belgrade of the year 2000 was marked by radical pressure
exerted on all possible types of artistic forms to engage in politics. This
would have been perhaps a customary way in which art would warn life or how art
would emulate life (or vice versa) had it not grown into an interesting and
increasingly posh concept called activism. The end justifies the means. We will
subscribe to this in the situation - 'save Serbia and kill yourself Sloboooo'.
Nothing is true, everything is allowed.
'Currently the best political activists are children' - says Critical Art
Ensemble - teenager hackers working on penetrating corporate and government
security systems from their parents' homes and student campuses. Their
intentions are unclear. Some appear as if they are aware of their actions being
essentially political. 'Regardless of your being aware of it or not, if you are
a hacker - you are a revolutionary, but the question is - to what end? Not a
single objective is mentioned except for the first step: free access to
information. It is never discussed how to use the information. The problem with
letting the children act as an avant-garde of activism is that they still have
not developed critical sensibility that would guide them beyond their first
political encounter. Irony lies in the fact that they are intelligent enough to
realize where political action must originate in order to have an impact...
Somehow it is quite logical then why OTPOR (RESISTANCE).
The state in its character is an antipode to Internet technology which is hailed
as decentralized, multidirectional communication, non-hierarchical, tolerant,
transnational, cosmopolitan, transcultural, and therefore grants an equal
position in using the media to both alternative and minority identities.
Similarly structured was opposition, current 'opposition', present-day
'authorities' and multiplyin-by-mere-replication independent organizations -
obsession with political struggle, the same balance of power and rule from
above, culture is used only to the extent needed to achieve temporary aims.
Profile of an EU/US activist promoting electronic civil disobedience -
vegetarian refusing to go to McDonald's restaurants, eat Nestle chocolates,
drink Coke, buy Shell Oil petrol...
Profile of a cultural activist in Serbia - belongs to some NGO, speaks only
about politics, Milosevic is his pretext, fixation and leitmotif in each
sentence.
Revolution is sweet only while it lasts.
...seek and you shall find...
So, we found our version of False Democracy, deeply wanted and waited, but it
comes with high prices we have to pay. Not only for the food supplies,
electricity or oil, that raises making poor country even more miserable but our
basic source of Knowledge and Information has mutated into Evil. Anti-piracy
wars started, and in love and wars everything is allowed.
Reminder: just a few months ago, every foreigner that has come to our country,
left with the collection of fresh or favorite music, some divx movies and games
for the children...and yes, software for their legally bought computers. How
come if it's allowed even the Law Enforcers and Obeyers are not petrified,
frizzed, killed by the flashlight. Oh, it's for their personal use?! Then, it's
ok.
What is happening now, we have pirate market wiped out from the streets, but not
from our hearts (!) not because we adore that much pirate copies, but, honestly,
we still cannot afford to buy regular music or updated versions of new software.
Face it, economically and financially we are not strong enough to enter the
Legalized World of Goods. Then, on the other hand, copies are as good as the
original, the discrepancies between original and copy has been blurred. Can you
explain to me the difference in Quality between music from the original CD and
the copied one, or the one downloaded from the Napsteroids ( Napsters's
followers)?
Anyone? Booklet is nicer, printed well and thicker... I show no respect to the
artists - since when Respect has been measured by Money? And yet, people do buy
original copies of the artists they undoubtedly Love and Respect.
Interesting data number 1 is that the only artists/singer whose CDs have not
been pirated in the previous Era were CDs of one of the most respected woman in
Serbia, folk diva Ceca Raznatovic (now in jail after Zoran Djindjic murder under
suspicion of non legal money transactions). She was the wife of Arkan,
assassinate Hague Tribunal most wanted, paramilitary murderer and
criminal/politician highly respected in previous regime. Nobody would dare to
pirates Ceca CDs; it was the question of Life and Death or Love and Respect ?!
Interesting data number 2 is that Microsoft came to be the first one, and
started to push the anti piracy squads. Now we have Windows XP in Cyrillic and
in Serbian, but we have no money to pay for it. How sweet is that? Not to
mention where to install it? But Microsoft has a plan, it has come to stay to
become the Chosen One, the Leader, once market starts to grow, well, apparently
even in the criminal piracy goons Microsoft is winning the battle, it has been
mostly used and widely known, so, of course when you have to buy and pay for
something - you will pay for something that you are acquainted mostly.
Transition process is painful, especially for the country ruined by inflation,
several wars and flooded by refugees, where politics is highly connected with
criminal, unfortunately misinterpreted very often with tolerance, human
rights... there has been some free Ceca movements, not very successful thou but
talking about human right connected with someone whose husband slaughtered
thousands, how ironic is that? Big Serbia Idols or Myth have failed down and
Serbia people liked them only when they were untouchable, Serbian people don't
like fallen Heroes and have a tendency to totally erase Broken Myths and forget
previous Beliefs - common people will just follow the Leader.
...where will you go today?...
But, whatever we do, we are not Alone. It seems that whatever Law you want to
enforce to someone, Law is falling under the pressure on New Age that has come.
Silently, yet efficiently, the everything is a copy of a copy reined the world.
Napster Bad - said the Law. Napster Good - said the thanks for sharing
Believers. The history is teaching us that technological revolutions are
changing the way people live, produce and think. Our living conditions have been
changed, the way we produce good or deeds has changed, and then why is it so
difficult to change the way we think?!
We seek for answers from television. They usually present public opinion
according to their own. Politicians mostly don't think and unfortunately they
Rule along with the Media Watchdogs under our thinking process. We Obey.
Is then activism in art/culture - politically committed art/culture?
Is it not a situation similar to the c-o-m-m-u-n-i-s-t era? Shh! I have said
this quietly and you should say it to yourself... they say 'the last remaining
brick of the Berlin Wall' has fallen in these parts as well as the last
remaining communist leader (Boris Buden, lecture at CSUB, November 2000).
If everyone was well aware of the potential of activism given that spontaneously
organized rebellions never came from above... in this respect it was only just -
to instrumentalize it.
Why then intellectuals feel as it they were 'internal emigres' (according to
Karl Jaspers from one of the editions about truth, guilt, responsibility or
something like that). Whose are then accomplices and culprits?... and whose is
the guilt? We will perhaps be given truth as part of a humanitarian aid packages
spearheaded by 15-minutes-of-fame corps of intelligentsia? Or as a skeptical
consumption of discourse? Or... something third or fourth. Triumph of digitaame corps of intelligentsia? Or as a skeptical
consumption of discourse? Or... something third or fourth. Triumph of digital
paradigm entails non-existence of centers of power, and consequently non-
existence of One Truth.
Finally, here is what this parallel-paranormal-x-files cultural policy has given
birth to - somewhere directly, somewhere indirectly, and in some places
metaphorically. In this wild frenzy one gains an impression about forgetfulness
of 'the institutions of interpretations and understanding', as if we knew how to
decode not only 'zero messages', even though Photoshop (pirates, of course)
teaches us to think in 'layers'.
Once called strategy of resistance now became strategy of surviving transition.
But this is not the End... saga continues...
***
... and no I am not angry and frustrated feminist/activist/anarchist, I am
stiletto feminist and net.phenomenologist with a satisfying sex life, and I am
reporting you just a fact. That¥æs just the way it has been going on and that¥æs
just the way it is now.
your Legally Blonde,
Zana Poliakov
www.zanapoliakov.com
Part 2
**************************************************
ISEA Newsletter Contributors: Kristian Lukic (Guest Editor), Branka Curcic, Zana
Poliakov and Nina Czegledy.
ISEA Board Members:
Peter Anders, Chris Csikszentmihalyi, Nina Czegledy, Gunalan Nadarajan, Anne
Nigten, Julianne Pierce, Wim van der Plas, Cynthia Beth Rubin, Mark Tribe.
ISEA HQ:
Angela Plohman, Coordinating Director
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